Henri Rousseau Art History - Naïve Symbol Post Impress - Art - 176 Slides

Henri Rousseau Art History - Naïve Symbol Post Impress - Art - 176 Slides
Henri Rousseau Art History - Naïve Symbol Post Impress - Art - 176 Slides
Henri Rousseau Art History - Naïve Symbol Post Impress - Art - 176 Slides
Henri Rousseau Art History - Naïve Symbol Post Impress - Art - 176 Slides
Henri Rousseau Art History - Naïve Symbol Post Impress - Art - 176 Slides
Henri Rousseau Art History - Naïve Symbol Post Impress - Art - 176 Slides
Henri Rousseau Art History - Naïve Symbol Post Impress - Art - 176 Slides
Henri Rousseau Art History - Naïve Symbol Post Impress - Art - 176 Slides
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This is a complete presentation on -- Artist Henri Rousseau -- THERE ARE MANY ACTUAL SLIDES FOR YOUR REVIEW IN THE PREVIEW. THIS IS YOUR BEST INDICATION OF PRODUCT QUALITY.

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EXCERPT: "ODD PAIRINGS"
For the exhibitions, Rousseau concentrated on large paintings. However, since he needed to supplement his income, he did small paintings too so that could swap them for goods and services locally. He picked subjects they would like, usually of suburban Paris which could be used in home decor.

These paintings had some strange elements to them too but they were harder to pick out than in his jungle paintings. Namely, he painted an eerie stillness upon the suburban landscape and then went leaping about with his own sense of scaling things in his pictures. It gave those pictures an otherworldly quality but it didn’t bother the people he used for swapping.

Rousseau used another odd juxtaposition. He liked technology with his airplanes and utilities and smokestacks. So those elements were included. Yet he did not put in any other elements of the modern city with its chaotic nature. Rather, he used a tranquil vision of a Paris of parks, boating excursions, and fishing parties along riverbanks. These odd pairings came naturally to him. They increased the otherworldly effect.

Rousseau ardently wanted to be accepted by the artistic establishment. He was an outsider and knew it. The group he wanted to join couldn’t have been more different from himself. They were a refined group of artists of the staunchly conservative French Academy.

None of them was doing work that would matter in the new century. They were an anachronism and the modern artists knew it. But the modern artists had worked with them and then hated them and their work. That is different though than never being able to work with them at all.

Those in the art establishment liked allegorical works about lofty subjects, like war and peace. Rousseau painted allegorical paintings too but once again they were odd because of elements which normally did not go together.

So he’d pick a lofty theme and then paint it with his own usual images and interests. The result looked incongruous or even absurdist. So they didn’t have the effect he wanted on the establishment but they sure had an effect on the up and coming modern artists and Surrealists. Whatever he painted, Rousseau could not help being anything but himself.
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